On January 27th, 2015 the world will see the release of Alasdair Roberts, the new self-titled solo record from the well-known Scottish songwriter, guitarist and singer – his eighth Drag City Records release under his own name, following on from 2013’s A Wonder Working Stone!
The making of Alasdair Roberts found Alasdair back at Glasgow’s Green Door Studio, where he previously made his 2009 album, Spoils. The rich ambiance throughout the album is evidence of yet another tremendous leap in Alasdair’s writing, playing and singing. The decision, then, to self-title this album hints at the idea of the artist as having achieved, in Jungian terms, complete ‘individuation.’ Evident as well upon listening is the sound of deep contentment in Alasdair’s playing and singing (not to be confused with gratuitous delusions of self-satisfaction). Moreover, this music is projected from a place of confidence, where what is needed for the music comes from either within and without, occurring naturally and as needed, instinctively.
Alasdair’s voice pitches down on occasion, enhancing the close feeling of this album – an environment where even the sounding of percussive stick-clicks signals a dynamic sonic shift. Alasdair has always delighted in a good, dark set of traditional ballads – the kinds of songs which address human mortality in all its grisly manifestations – but even in the relative isolation of this almost-solo set, Alasdair shows no sign of the misanthrope; his advocacy for the fellowship of man is always unshakably present.
Alasdair Roberts has had a remarkable career to date and this self titled album is a new phase in an essential and ever-evolving discography; it will please long-term followers and new listeners alike, and stand with his other records as testaments in time to as pure a talent as this era has seen and heard.
The Way Unfavoured
The Problem of Freedom
The Final Diviner
In Dispraise of Hunger
The Mossy Shrine
This Uneven Thing
Roomful of Relics